1764 – The music part 3 – Introducing the Baryton

Hob. #	Genre	Key	Instruments
10:11	Duet	D	2 Barytons
12:01	Duet	A	2 Barytons
12:02	Duet	G	2 Barytons (fragment)
12:03 & 05	Duet	D	2 Barytons
12:04	Duet	G	2 Barytons
12:06	Duet	G	2 Barytons (fragment)

One of the things that Haydn's reputation is built on, even today, is his huge oeuvre for the Baryton, one of those things that the 19^th century musical establishment considered Haydn's particular form of slavery to be based in. After all, who would write approximately 175 works for an instrument that no one could possibly love, especially since it was ungrateful to even virtuosi? And there is no denying that it takes an unusual taste (by modern standards) to appreciate the beauties offered in works for this instrument. The odds are very good that if you have heard any baryton works at all, it will be a few of the more famous trios, like #97, the extraordinary seven movement tour de force which appears on virtually every disk of the trios, no matter what it is coupled with. Such is fame.

Of course, like all of Haydn's other aspects, the origins of this one too is shrouded by lack of documentation. In addition to the more famous trios, he also composed several solo sonatas (possibly with cello playing continuo), duets for baryton & cello, duets for two barytons, a quintet for baryton, horns, viola & bass and a series of Octet/Divertimentos. The challenge for the listener, then, is to try and bring some sort of order into this rather large pile of manuscripts. Are natural groupings really natural, for example? I have chosen the six (mostly) extant duets for two barytons for this year, but I did it on the basis of inference from some of the things that Haydn was known to have done. Probably wrong, but it makes me happy this way.

These works have been recorded but once, unless someone sneaked one in recently without fanfare. Unlikely. The 21 disk box set Haydn: The Complete Works for Baryton, performed by the Esterházy Ensemble on Brilliant Records, has the lot of them. It should be noted that even if you have the Haydn Big Box from that label, you won't have these particular works since at the time of the release of the Big Box the actual set wasn't completed yet. As much as I admire Brilliant for sponsoring this great project, the omission of one disk from the lot leaves a bit of a bitter taste. So it goes. It goes without saying that for a Haydn Completist this box is a must-have. The music and performances justify the expense, in my opinion.

It is tempting to speculate on Haydn's reasons for composing duets for two barytons. Even if my speculative placing of them in this year is not based on hard documentation, the basic question of 'why?' doesn't go away no matter 'when'. The first thing I thought of, given Haydn's past practice and the fact that the Prince was essentially a novice in training, is that these were etudes, so to speak. Training aids must have been thin on the ground at the time, and what more practical way for someone to learn than to mimic the teacher. The only objection I can place against this is that much of the time, the 'secondo' part is nearly as challenging as the 'primo'. Not exactly what one would expect, but not right out, either. The Prince had many professional musicians in his employ, and at least two of them were very capable barytonists (Haydn wasn't at this point though). What better than to have his composer put together some challenging practice material? For my own satisfaction, that is the story that I have come up with to explain the available data, and I'm sticking with it until forced to evacuate the position!

To look at the works in general, we see right off that our friend Hoboken has continued his mysterious ways, placing our first duet in his section X, reserved for miscellaneous Baryton works and mostly occupied by the very late Octet/Divertimentos. Why it didn't land in section XII, actually called 'Baryton Duos' is one of those mysteries of life which Hoboken was always pleased to present us with. Of the remaining five works, 12:2 & 12:6 are but short fragments, usually counted as lost, but actually represented by a few measures. It is not known whether # 3 & 5 actually began life as a complete work, were split up, and then eventually brought back together, but this is their fate today. The finale of this work shares themes with the trio of Symphony #28. This leaves #1 & 4, and the fugitive over in section X as the only full length original works remaining.

The music itself does not remind one of the trios. It lacks the texture that Haydn could apply to three instruments. It is not virtuoso quality, nor is it anything remotely resembling basic scales and practice works. Rather, it actually is a showcase for moderately skilled technique by two barytonists. You can probably hear the ins and outs of the instrument's capabilities better here than anywhere else I've found. The smooth, beautiful tone of a bowed gamba, the plucking of the lyre/harp, and finally, the drone of the sympathetic strings in harmony. Altogether these works are ideal for quiet interludes such as in a chamber recital. Just like all the other music of this period, these are not for everyone. As is usually the case, though, it isn't a failing of the music, merely a temporary incompatibility between music and listener.

Thanks for reading!